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Designing the Domus: Enhancing the History, Theory and Practice of Contemporary Interior Design Through Analysis of Ancient Roman Domestic Space(S)

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Designing the Domus: Enhancing the History, Theory and Practice of Contemporary Interior Design Through Analysis of Ancient Roman Domestic Space(S) Designing the Domus: enhancing the history, theory and practice of contemporary interior design through analysis of ancient Roman domestic space(s) A Thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF SCIENCE In the School of Architecture and Interior Design of the College of Design, Architecture, Art and Planning 2011 by Helen A. Turner BSHCS in Interior Architecture, Ohio University, 2005 Committee Chair: Patrick Snadon, PhD – Architecture and Interior Design Committee Members: Edson Cabalfin – Architecture and Interior Design Adrian Parr, PhD – Women's, Gender, and Sexuality Studies Advisor: Steven Ellis, PhD – Classics ABSTRACT ______________________________________ Designing the Domus: enhancing the history, theory and practice of contemporary interior design through analysis of ancient Roman domestic space(s) This thesis attempts to enhance the connection between interior design and ancient Roman domestic space by establishing a continuous, reflective and reciprocal relationship, through which their similarities might be strengthened and incongruities mutually illuminating. Though the topics of contemporary interior design and ancient Roman domestic decoration may seem disparate, the information presented throughout this thesis indicates they are, in fact, contingent. What is more, exploring them simultaneously is imperative to enriching, not only the history and theory of interior design but also augmenting the knowledge concerning ancient Roman domestic space as a holistic environment. When experiencing an ancient Roman domestic interior, it becomes very apparent that all aspects of decoration, including walls, floors, ceilings and even furniture, coalesce to evoke the sense of a ‘coordinated interior’, or a space in which all design elements work in harmony and correspondence with one another. Though an abundance of literature and research exists concerning ancient Rome and its domestic interiors, it is often segmented according to scholarly discipline, like architecture, art history or archaeology, as well as fragmented by decorative elements, such as wall paintings or floor mosaics. Such disparate research results in the divorce of decoration from context, which eliminates the possibility of understanding how it may have fit into an organized scheme or even how it functioned within the space. Thus, it is difficult to discuss or study a holistic ancient Roman interior environment when, conceptually, the scholarship does not acknowledge its existence. What is more, such elements have occasionally also been physically removed from their context and intended viewing position to be framed and displayed as components of museum exhibits where they are viewed or studied as such. Regrettably, in my opinion, this has led to numerous history of interior design courses that introduce the mere aesthetic qualities of ancient spaces rather than reasons why such spaces were decorated, who designed them, or how they were implemented. In an effort to remedy these difficulties, my lens as an educated and practiced interior designer combined with related methodologies, ancient Roman domestic space and decoration is to be explored through literature and field research. Next, because decoration is influenced, and sometimes determined, by the space within which it is created, ancient Roman domestic decoration is considered relative to a broader organizing system progressively involving: the layout of a house, the situation of a house within a city block, the block as formed by planning of city streets and finally, the organization of streets according to the city’s site and orientation. Ideal prescriptions of ancient authors, like Vitruvius, compared to the real manifestations visible in the cities like Pompeii and Herculaneum, discovered through this systematic study, converge in a discussion of domestic decoration expressed by the House of the Ceii in Pompeii. Lastly, because interior design is a practice characterized by its process, rather than focus solely on completed decoration, the implementation of the ancient Roman domestic interiors will be considered alongside a design methodology utilized in contemporary interior deign practice and education. iii * Page intentionally left blank* iv Acknowledgements ______________________________________ In loving memory of and dedication to ‘Daddy’: my biggest enthusiast yet toughest editor Also, the utmost appreciation and adoration to my husband and my family without the support and encouragement of whom this thesis would not have been possible. Finally, an immense amount of gratitude is extended to my committee for imparting their knowledge and offering continuous guidance which truly enhanced the quality and outcome of this thesis. v TABLE OF CONTENTS ______________________________________ List of Figures vii Prologue 1 Chapter 1: HISTORIOGRAPHY of ancient Roman Domestic Space and Decoration 19 _____________________________________________________________________________________ Ancient 20 Recent 28 Contemporary 36 Conclusion 41 Chapter 2: IDEALIZED -vs- REALIZED 42 _____________________________________________________________________________________ the IDEALIZED city 45 the REALIZED city 47 the IDEALIZED domus 56 the REALIZED domus 61 Chapter 3: IDEALIZED concepts REALIZED through decoration 74 _____________________________________________________________________________________ Chapter 4: Design PROCESS & IMPLEMENTATION 117 _____________________________________________________________________________________ Pre-Design 121 Design PROCESS 125 Design IMPLEMENTATION 145 Conclusion 151 Epilogue 159 Bibliography 171 vi LIST OF FIGURES _____________________________________ 1 Gridded tile floor and column within Hadrian’s Villa at Tivoli 4 2.1 Diagram of a ‘groma’ 48 2.2 Map of Pompeii 48 2.3 Orientation of Pompeii within the landscape 52 2.4 Plan of the insulae containing the House of the Ceii 55 2.5 ‘Ideal’ domus plan 58 2.6 Typical klinae arrangement 58 2.7 House of the Ceii plan 63 2.8 House of the Wooden Partition plan 64 2.9 Ancient Roman construction materials and techniques 67 2.10 Compluviat roof construction 72 3.1 House of the Ceii façade 78 3.2 House of the Ceii fauces 81 3.3 House of the Ceii atrium 84 3.4 Stripe wall painting within the Villa of Oplontis, Boscoreale 88 3.5 Stripe wall painting in the House of Julius Polibius, Pompeii 88 3.6 House of the Ceii animal hunt wall painting as seen through the tablinum 89 3.7 House of the Ceii path to the tablinum 91 3.8 House of the Ceii path to the triclinium 91 3.9 House of the Ceii triclinium 92 3.10 House of the Ceii triclinium wall painting, median zone and upper zone 95 3.11 House of the Ceii triclinium wall painting, socle and median zone 95 3.12 House of the Ceii corridor looking from the rear hortus to the atrium 97 3.13 House of the Ceii animal hunt wall painting as seen through the hortus 97 3.14 House of the Ceii hortus wall painting 99 3.15 House of the Wooden Partition atrium 101 3.16 House of the Wooden Partition atrium furniture grouping 102 3.17 House of the Wooden Partition atrium table 104 3.18 House of the Wooden Partition compluvium 105 3.19 Partition within the House of the Wooden Partition 107 3.20 House of the Wooden Partition detail 108 3.21 House of the Wooden Partition view from the tablinum to the atrium 109 3.22 House of the Wooden Partition bed remnants 111 3.23 House of the Wooden Partition cubiculum 112 4.1 First Style in the House of the Sallust, Pompeii 129 4.2 Emblematta within the House of Menander, Pompeii 130 4.3 Second Style in the Villa of the Mysteries, Pompeii 131 4.4 Late Second Style in the Villa of Oplontis, Boscoreale 133 4.5 Third Style in the House of Julius Polibius, Pompeii 135 4.6 Fourth Style in the House of Lucretius Fronto, Pompeii 136 4.7 Scaenographia 142 4.8 Illustration of a team of decorators at work 150 4.9 Villa Imperiale, Pompeii 155 4.10 Example of scored wall painting plaster, Pompeii 157 4.11 House of Marcus Fabius Rufus, Pompeii 158 5.1 Page of designs from Robert Adam’s Works in Architecture, 1773-78 164 5.2 Etruscan Room at Osterly Park, designed by Robert Adam ca.1775-77 165 5.3 Entrance of a modern day house compared to the House of the Ceii 167 5.4 Foyer of a modern day house compared to the House of the Ceii 168 5.5 Dining room of a modern day house compared to the triclinium in the House of Julius Polibius 169 vii Architectural theory and history have traditionally been concerned with the study of monuments. They emphasized the work of men of genius, the unusual, the rare. - Amos Rapoport In “House Form and Culture” …then interior design is something less grandiose but something considerably more human, a monument not to the eternal but to the transient, a celebration of a very particular time, place and situation, commemorating the presence not of man but of specific men and women. - Stanley Abercrombie In “A Philosophy of Interior Design” PROLOGUE ______________________________________________ A comparison of two class lectures: this seemingly simple event served as a catalyst for the ideas and research behind this thesis. The curriculum of the two courses involved in this association both concentrated on history, one of architecture and the other of interior design. The basis for the comparison began with the course, History/Theory/Criticism: Sources of Modern Architectural Theory, taught by Professor Gordon Simmons. During the initial
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